"Tribute... S.Roomai Noor". Peranannya Memajukan Filem Malaysia Sepatutnya Di Hargai. Update: 15/3/2021

i. Nasib ii. Berdosa iii. Selamat Tinggal Kekasehku iv. Bayangan DiWaktu Fajar v. Orang Minyak
Sumber (Youtube): Hp * edLOKfc * Hp * HP * edLoKfc

Friday, July 13, 2012


10 FILEM BOLLYWOOD TERHEBAT

TOP 10 BOLLYWOOD FILMS OF ALL TIME
Teks & Foto Dari Pelbagai Sumber
Di Edit Di Semak & Di Susun
Oleh Zaini Yusop & Mustafar A.R.


RAJA HARISCHANDRA & ALAM-ARA

Industri filem Bollywood (Hindi) berpusat di Mumbai, India. "Raja Harischandra" (bisu) yang ditayangkan pada tahun 1913 merupakan filem pertama dikeluarkan manakala "Alam-Ara" tayangannya pada tahun 1931 pula, filem talkie (suara) pertama di negara tersebut.

Filem Bollywood, pada tahun depan (2013), genaplah sudah 100 tahun iaitu sejak filem pertamanya ditayangkankan pada tahun 1913, dan sejak itu banyak filemnya yang terhebat (superhit) telah dikeluarkan dan mendapat sambutan hangat dalam dan luar negara serta menghasilkan pendapatan yang cukup lumayan.

Berikut adalah senarai 10 filem Bollywood (Hindi) terhebat (teratas) setiap (sepanjang) masa pilihan blog Cinemaroll dan komen-komen pula diambil dari berbagai-bagai sumber yang diperolehi di alam maya (internet).

Pertimbangan utama masuk ke dalam senarai ialah, ia berdasarkan kutipan kasar (gross) box office, disamping aspek-aspek lain seperti nilai-nilai teknikal, cerita, pengarahan, lakonan dan sebagainya.


1. SHOLAY (1975)


(Sumber: 7Singhek)

1. SHOLAY___

"Sholay" merupakan filem terhebat Bollywood kerana berjaya meraih kutipan (box office) tertinggi di India. Diarah oleh Ramesh Sippy dan dikeluarkan oleh G.P. Sippy, permulaan tayangannya pada hari Kemerdekaan India, 15 Ogos 1975. Bintang utama Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini, Jaya Bhaduri dan Amjad Khan. Pertama kali diedarkan "Sholay" kurang mendapat sambutan. Tetapi dengan adanya penyampaian mulut ke mulut ia terus mendapat kejayaan box office. Tayangannya memakan masa 286 minggu terus menerus (melebihi 5 tahun) di sebuah panggang wayang di Mumbai. Pencapaian rekod 60 jubli emas (50 minggu berturut-turut) di seluruh India, masih dipertahankannya. "Sholay" juga filem pertama dalam sejarah panggung wayang di India meraikan jubli perak (25 minggu) lebih 100 panggung wayang di seluruh India. "Sholay" adalah filem yang berjaya meraih kutipan tertinggi sepanjang masa, walaupun angka sebenar tidak dapat dipastikan.

ANUGERAH___

"Sholay" telah dipilih sebagai Filem Millennium oleh BBC India. Di Anugerah Filmfare (1976) ia hanya memenangi satu anugerah saja, Penyuntingan Terbaik (M.S. Shinde). Begitu pun juga, dalam Anugerah Filmfare (2005), ia telah diberikan anugerah istimewa, Best film in the last of 50 years of Indian cinema (Filem terbaik dalam tempuh 50 tahun filem India).

COMMENTS___

By Sajal Pyasa

As a strong fan of the American Western genre and of course the directing of Sergio Leone, it is with great enthusiasm that I recommend "Sholay" to any audiences or fans of Westerns and Bollywood cinema.
Perhaps, the greatest film in the history of Bollywood cinema (with one of the longest theatrical runs in Bollywood history), this is the definitive Bollywood action epic movie in the same way that Sergio Leone's "The Good, The Bad & The Ugly" was the definitive Western.
The film features the acting talents of such Bollywood legends, Amitabh Bachchan and Dharmendra, and focuses at its heart, a story of friendship, courage and revenge, based loosely around the concepts of Akira Kurosawa's "Seven Samurai" and "The Magnificent Seven".
If you have not watched it, then make it your priority to watch it at least once in your life, as this is definitely one of the movies that every person needs to experience. A true cinematic masterpiece.


2. MUGHAL-E-AZAM (1960)


(Sumber: Saher42)

2. MUGHAL-E-AZAM___

"Mughal-E-Azam" diedarkan pada tahun 1960. Ia dikeluar dan diarahkan oleh K. Asif. Bintang utamanya Dilip Kumar, Madhubala dan Prithviraj Kapoor. Filem ini mengambil masa hampir 15 tahun menyiapkannya dan menelan perbelanjaan yang sangat tinggi pada masa itu (INR15,000,000). Meraih kutipan box office paling tinggi di India sehinggalah rekodnya dipecahkan oleh "Sholay" pada tahun 1975. Pada tahun 2004, versi warna filemnya diedarkan dipanggung-panggung wayang di seluruh India dan luar negara, dan mendapat sambutan.

ANUGERAH___

"Mughal-E-Azam" memenangi 3 Anugerah Filmfare (1961) - Sinematografi (R.D. Mathur), Dialog (Aman, Kamal Amrohi, Wajahat Mirza & Ehsan Rizvi) dan Filem Terbaik.

COMMENTS___

By Sandeep Prasad

"Mughal-E-Azam" is by far one of the best, I have seen. One is sure to be mesmerized by the love affair, the Mughal Emperor and the India of that time. The film being in Urdu language also adds originality and aura. The dialogs and direction is superb. The voice of late Prithviraj Kapoor as Akbar is beyond compare. Salim, played by Dilip Kumar is one of his best known acting and film. Madhubala seems great, and I definitely feel, she rivals any modern day actress in her beauty, grace and boldness and courage. I watched the latest 2004 re-release of this film in a theater and the experience was superb. I had earlier watched the movie (earlier release) in television before, but the latest release in color and dolby digital sound adds to the experience.


3. MOTHER INDIA (1957)


(Sumber: Tibbimarlani)

3. "MOTHER INDIA"___

"Mother India" diedarkan pada tahun 1957 dan diarahkan oleh Mehboob Khan dan dibintangi oleh Nargis, Sunil Dutt, Rajendra Kumar dan Raj Kumar. Filem epik dalam erti kata sebenarnya. Ia merupakan salah sebuah filem terbesar yang pernah dibuat tanpa mengira latar belakang mana-mana budaya, tradisi, sosial dan etika yang perlu dipertimbangkan. "Mother India" antara beberapa filem termasuk "Kismet" (1943), "Mughal-E-Azam" (1960) dan "Sholay" (1975) yang terus ditonton setiap hari di seluruh India dan juga telah dianggap sebagai filem klasik budaya India yang tetap unggul.

ANUGERAH___

"Mother India" merupakan filem pertama India dicalonkan merebut anugerah Oscar Akademi Filem Bahasa Asing Terbaik (1958), disamping memenangi 5 anugerah Filmfare (1958) - Filem Terbaik, Pengarah (Mehboob Khan), Aktres (Nargis), Sinematografi (Faredoon A. Irani) dan Suara (R. Kausik). Nargis juga memenangi anugerah Aktres Terbaik di Festival Filem Antarabangsa Karlory Vary, Republik Czech (1958).

COMMENTS___

By Mansoor Umar

"Mother India" had me in tears at least three times; and not tears of sadness, but because it was just so beautiful. Don't expect anything near Hollywood slickness; if you want to find errors and things to laugh at, there are dozens. But the whole spirit of the piece is very poetic. In Hollywood movies, the musical numbers are when I take a break and go out. But in Indian movies, the musical numbers are spellbinding! And in this one, perhaps the best. The lyrics, the melodies, the staging (even with noticeable lip-sync.) are just wonderful. Take the best songs from Broadway musicals and compare them to these, they've met their match. The passion in the lead female voice matches Maria Callas. Superb!


4. GUIDE (1965)


(Sumber: MegaAiyub)

4. GUIDE___

"Guide" diedarkan pada 6 Februari 1965. Ia diarahkan oleh Vijay Anand dan diterbitkan oleh Dev Anand serta lakonan Dev Anand dan Waheeda Rehman. Ia berdasarkan novel kritikal yang diiktiraf karya R.K. Narayan dan telah dianggap sebagai salah satu karya agung (masterpiece) dalam industri filem India. "Guide" telah ditayangkan di Festival Filem Cannes pada tahun 2007, 42 tahun setelah ia dikeluarkan. Filem ini terbukti menjadi box office selepas diedarkan. Ia tidak dapat dilupakan kerana lakonan bintang utamanya, Dev Anand dan Waheeda Rehman, yang memenangi anugerah dan pencipta musiknya, S.D. Burman.

ANUGERAH___

"Guide" menerima 7 anugerah Filmfare (1967) - Aktor (Dev Anand), Aktres (Waheeda Rehman), Sinematografi (Fali Mistry), Dialog (Vijay Anand), Cerita (R.K. Narayan), Pengarah (Vijay Anand) dan Filem Terbaik.

COMMENTS___

By B. Mandy

"Guide" is an impeccable work of art, not simply a movie. I see it as a lifetime achievement for all those who were a part of it, not intending to undermine their other accomplishments. Vijay Anand, popularly called Goldie (movie director), shows his class and commitment to prove himself even when the English version of the movie directed by Ted Danielewski failed earlier. It was a just a 5 minutes song that Yash Johar (P.R.O. for production) showed to the distributors before they were convinced that the movie is a classic. The photography, art direction and production of the movie sets it apart from other movies of its era and at the same time puts it right up there on a different level. I would say that "Guide" is the soul of Indian Cinema and serves as an inspiration to many. For all those who doubt the talent and originality of Dev Anand (Raju), this is the answer. Waheeda Rehman (Rosie) has herself confessed that "Guide" was the best ever role that she performed. S.D. Burman's heart rendering music and Vijay Anand's vision have made this a landmark accomplishment for Indian Cinema.


5. AWARA (1951)



(Sumber: Shemaroo)


(Sumber: MegaAiyub)

5. AWARA___

"Awara" diedarkan pada tahun 1951, diarah dan dikeluarkan oleh Raj Kapoor serta dibintangi oleh Raj Kapoor, Nargis dan Prithviraj Kapoor. Musiknya telah digubah oleh Shankar-Jaikishan. Raj Kapoor, merupakan salah seorang bintang Bollywood yang paling popular dan disamakan dengan watak Charlie Chaplin kerana dia sering memainkan peranan insan yang tidak mempunyai wang sebagai penentu untuk berjaya dalam masyarakat. Bagaimanapun, dia mempunyai cukup pengetahuan untuk berhibur dan merasa kesedihan. Dia akan membawa masuk elemen sosial ke dalam filemnya dan ini sudah pasti sangat menghiburkan. "Awara" mendapat sambutan sekelip mata di Asia Selatan, dan mendapat kejayaan di luar negara, Kesatuan Soviet, Asia Timur, Afrika dan Timur Tengah. Lagu "Awara Hoon", nyanyian Mukesh dengan liriknya oleh Shailendra, menjadi sangat popular di seluruh benua kecil India, serta dalam Kesatuan Soviet, China, Turki, Afghanistan dan Romania. Disebabkan popularitinya begitu banyak, ia telah dicalonkan untuk filem yang paling berjaya sepanjang masa. Pada tahun 2012, "Awara" dimasukkan ke dalam 20 penyertaan baru untuk All-Time 100 greatest film oleh majalah TIME.

ANUGERAH___

"Awara" telah dicalonkan merebut anugerah Grand Prize Of The Festival di Festival Filem Cannes pada tahun 1953, tetapi telah digagalkan oleh filem "The Wages Of Fears" (French) yang diarahkan oleh Henri-Georges Clouzot.

COMMENTS___

By John Seal

"Awara" is a stunning example of full tilt filmmaking. Featuring superb (and appropriate) musical interludes by the Shankar-Jaikashan team, this film effortlessly blends a wide range of influences: noir, gothic horror, neo-realism, and the surrealism of Jean Cocteau all come into play. Raj Kapoor and Nargis are one of the finest screen couples of all time, equaling if not topping Jean-Louis Barrault and Arletty in "Children of Paradise", another possible cinematic influence on Raj Kapoor, who also directed. This is an exciting, moving, and unforgettable film. The musical sequences showed the movie's multi-faceted nature. It showed references to Charlie Chaplin, Rodgers/Hammerstein and the like. Particularly amazing is the dream sequence in an east meets west setting. Elements of Hindu-Buddhist mytholog are mingled with those of ancient Greco-Roman.


6. ANKUR (1974)


(Sumber: Yash4238)

6. ANKUR___

"Ankur" telah diedarkan pada tahun 1974 yang diarahkan oleh Shyam Benegal dan dibintangi oleh Shabana Azmi dan Anant Nag. Ia merupakan filem cereka (feature) pertama diarahkan oleh Shyam Benegal. "Ankur" milik genre filem seni India yang juga dikenali sebagai Indian Parallel cinema. Ceritanya berdasarkan kisah benar yang berlaku di Hyderabad pada tahun-tahun 1950an. "Ankur" adalah sebuah filem yang menganalisis tingkah laku manusia secara umum dan banyak menekankan perasaan (walaupun ceritanya bukan fiksyen). Kisahnya berkisar disekitar dua watak, Lakshmi dan Surya. Ankur (benih) juga ada di situ. Ia juga mengandungi satu adegan hukuman sebat dan karut-marut yang jarang ditemui dalam filem-filem India.

ANUGERAH___

"Ankur" memenangi 3 anugerah (Silver Lotus) National Film Awards, India (1974/1975) - Aktres (Shabana Azmi), Aktor (Sadhu Meher) dan Filem Terbaik Kedua.

COMMENTS___

By Karama Chandra

This is one of the first Hindi movies of the art movie genre. This movie was released when Bollywood was undergoing a sort of writer's block. At the same time the alternative cinema was in a creative ferment. This movie is truly a work of genius directorial talent. The characters of this movie are so real and their psychology is shown in a unique way. The acting in this movie is just great. The director's deep knowledge of the human psyche is reflected in this movie. The hypocrisy and innocence of human nature is so beautifully pictured. The camera work is great. The viewer could get a glimpse into the rural India as it is without any makeover or idyllic transformation. This movie doesn't tell a story; rather the actors as well as the viewers live the story. So engrossing is this movie. "Ankur" is one of the very best Hindi films ever made. Unusually for Hindi cinema, it is an entirely realistic film without singing and dancing. Since music is of huge commercial importance to Indian cinema, the pressure on directors to include it tends to be impossible to resist and is a constant problem facing 'serious'.


7. HUM AAPKE HAI KOUN..! (1994)


(Sumber: Rajshri)

7. HUM AAPKE HAI KOUN..!___

"Hum Aapke Hain Koun..!" telah diedarkan pada tahun 1994 yang diarahkan oleh Sooraj Bharjatya lakonan Salman Khan dan Madhuri Dixit. Musik merupakan salah satu sebab kejayaannya. "Hum Aapke Hain Koun ..!" (Bahasa Malaysia: Siapakah saya kepada Anda..!) bercorak kekeluargaan diarahkan oleh Sooraj Barjatya dan dikeluarkan oleh Rajshri Productions. Ia dibuat semula (remake) dari filem Rajshri Productions lebih awal, "Nadiya Ke Paar" (1982). Ia mengisahkan 2 keluarga India dan hubungan diantara mereka, meraikan budaya India dengan menggunakan nilai-nilai kemodenan. Ia dialihsuara ke Bahasa Telugu bertajuk "Premalayam". Memperolehi pendapatan melebihi INR135 crore (AS$26,930,000) di seluruh dunia, "Hum Aapke Hain Koun..!" memecahkan rekod "Sholay". Ia juga berjaya meraih kutipan tertinggi di Bollywood selepas ditayangkan selama 7 tahun (pemegang rekod) hinggalah pengedaran "Gadar: Ek Prem Katha". Dalam Edisi Milenium "Guinness Book Of World Records", "Hum Aapke Hain Koun..! disenaraikan sebagai filem yang berjaya meraih kutipan tertinggi (grossing film) di Bollywood.

ANUGERAH___

"Hum Aapke Hain Koun..!" memenangi 3 anugerah Filmfare (1995) - Aktres (Madhuri Dixit), Pengarah (Sooraj R. Barjatya) dan Filem Terbaik, dan 3 anugerah Screen Weekly (1995) - Aktres (Madhuri Dixit), Pengarah (Sooraj R. Barjatya) dan Filem Terbaik.

COMMENTS___

By Shiva Kumar

This is one of the best movies ever. The direction is superb. The choreography is excellent. The cinematography is excellent. Madhuri Dixit and Salman Khan are brilliant. The others are great too. The on screen chemistry is excellent. The music is excellent. The costumes are good too. Script is excellent. Dialogs are excellent. Photography is excellent. I have seen this film 7 times already. This is tooooo..... good. This movie can definitely listed among the top 5 movies of all time. It Is a breezy movie with an ingradient of all nice things. It has ear soothing music, good performances and extremely good happenings going on. You won't feel bored even for a second. Though without a strong story, it is pure entertainment at its best.


8. DIWALE DULHANIA LE JAYENGE (1995)


(Sumber: EkThaTiger)

8. DIWALE DULHANIA LE JAYENGE___

"Dilwale Dulhania Le Jayenge" (Bahasa Malaysia: Hati Berani Mencuri Hati Pengantin), adalah sebuah filem Hindi bahasa yang diedarkan pada 20 Oktober 1995. Komedi romantik, ia merupakan arahan sulung Aditya Chopra, yang juga menulis cerita. Ia telah dikeluarkan oleh Yash Chopra, bapanya, dan dibintangi oleh Shah Rukh Khan dan Kajol. Filem ini menceritakan kisah pasangan muda yang jatuh cinta ketika bercuti di Eropah. Penggambaran dilakukan di India, London dan Switzerland. Pendapatan kasar INR106 crore (AS$21,15 juta) di India dan INR15 crore (AS$2,99 juta) di luar negara, menjadikannya filem terbesar Bollywood. "Dilwale Dulhania Le Jayenge" telah disenaraikan oleh Indiatimes Movies sebagai "25 Filem Bollywood Mesti Tonton". Ia adalah salah satu daripada dua filem Hindi tersenarai dalam "1001 Filem Anda Mesti Tonton Sebelum Anda Meninggal Dunia" bersama "Mother India". Ia juga termasuk dalam senarai Institut Filem British sebagai antara 12 filem Bollywood paling popular. Ia juga telah diisytiharkan all-time blockbuster dan kekal sebagai filem paling lama ditayangkan dalam sejarah filem India. Sehingga kini (tahun 2012), ia masih lagi ditayangkan di panggung wayang Maratha Mandir, Mumbai.

ANUGERAH___

"Diwale Dulhania Le Jayenge" memenangi 8 anugerah Filmfare (1996) - Aktor (Shah Rukh Khan), Aktres (Kajol), Pelawak (Anupam Kher), Pengarah (Aditya Chopra), Lirik (Kumar Sanu), Penyanyi Latar (Udit Narayan), Aktres Pembantu (Farida Jalal) dan Filem Terbaik. Turut dimenanginya, 3 anugerah Screen Weekly (1995) - Aktor (Shah Rukh Khan), Pengarah (Aditya Chopra) dan Filem Terbaik.

COMMENTS___

By Shaheena Ali

"Diwale Dulhania Le Jeyange" has been my all time favourite movie. It's a wonderful love story about the second generation Asian youths. Raj the main character played by Shah Rukh Khan gives a superb performance and equally good as Simran (co-star) played by Kajol. It's about a girl living in London, who's marriage has been arranged by her father to marry his best friend's son. She accepts her fate until she meets Raj in Europe and falls in love. The songs in the movie are also worth listening to, composed by Jatin Lalit which are melodious and romantic. This film is a memorable masterpiece from Bollywood, because of the songs and the storyline which still is and always will be one of the best in Indian cinema history. The songs will always be a part of my memories especially "Tujhe Dekha To" which Kumar Sanu and Lata Mangeshkar do an absolutely awesome job on. Thank you Bollywood for this pleasant movie.


9. LAAGAN (2001)


(Sumber: LGNatSominal143)

9. LAGAAN

"Lagaan" ("Cukai Tanah") mula ditayangkan pada 15 Jun 2001 yang diarahkan oleh Ashutosh Gowariker, dikeluarkan oleh Aamir Khan dan dibintangi oleh Aamir Khan, Gracy Singh, Rachel Shelley dan Paul Blackthorne. Ia sebuah filem drama epik India dengan musiknya dihasilkan oleh A.R. Rahman yang lagunya ("Jai Ho") dalam filem "Slumdog Millionare" memenangi anugerah Musik Terbaik (2008) di Anugerah Oscar Akademi 2009. Dibuat pada bajet sebanyak INR25 crore (AS$4.990.000), keseluruhan penggambaran telah dilakukan di sebuah kampung kuno berhampiran Bhuj, India. Berlaku dalam tempoh pemerintahan kolonial British (Victoria) di India ia berkisar mengenai petani miskin yang ditindas oleh cukai tanah yang tinggi. Mereka meminta pegawai-pegawai British mengurangkan cukai, tetapi sebaliknya, mereka diajak bermain kriket. Jika pasukan petani dapat menewaskan pasukan British, cukai tanah selama tiga tahun akan dihapuskan. Pada tahun 2010, ia telah menduduki tempat # 55 dalam majalah Empire "The 100 Best Films World Of Cinema". Dalam tahun 2011, ia disenaraikan dalam majalah Time khas "The All-TIME 25 Best Sports Movies".

ANUGERAH___

Diantara 10 filem, "Lagaan" paling banyak menyertai festival dan penganugerah dalam dan luar negara, 13 semuanya. Paling berjaya apabila ia memenangi 8 anugerah Filmfare (2002) dan anugerah Screen Weekly (2002) termasuk Aktor (Aamir Khan), Pengarah (Ashutosh Gowariker), Musik (A.R. Rahman), Cerita (Ashutosh Gowariker) dan Filem Terbaik. Ia turut dicalonkan merebut anugerah Oscar Akademi Filem Bahasa Asing Terbaik, dan merupakan yang ke-3 selepas "Mother India" dan "Salaam Bombay!" (1989).

COMMENTS___

By Malvika

Initially I was warned about the length of the movie - 3 hours and 50 minutes. But believe me, its worth it. There is a refreshing Indian-ness about the movie, which is welcome after a recent bout of Hollywood remakes in Hindi that have become such an eye-sore. The emotion that Indians share about cricket is effectively taken advantage of (the cricket match played between villagers of Champaner and the British officers which forms the climax, extends to about an hour and a half). The best part of the movie is the characterization of the 11 players (villagers). Aamir Khan is at his best in this movie and Gracy Singh lives the role of Gauri.The acting talents of the British actors especially that of the officer Captain Russell (played by Paul Blackthorne) is notable. There was never a boring moment in the film, the dialogues and songs' lyrics are very meaningful. And lastly I must appreciate the work behind the entire cricket sequence as it covers most of the aspects of the game and not to mention - match fixing, sledging, body line bowling, making it gripping till the last ball! A must see for Indian cricket fans!


10. DEEWAAR (1975)


(Sumber: Billhere22)

10. DEEWAAR

"Deewaar" diedarkan pada 24 Januari 1975 yang diarahkan oleh Yash Chopra dan dikeluarkan oleh Gulshan Rai dan dibintangi oleh Amitabh Bachan, Shashi Kapoor, Nirupa Roy, Neetu Singh dan Parveen Babi. Musiknya dihasilkan oleh R.D. Burman. Dikeluarkan pada tahun 1975, selepas "Sholay", pada masa Perdana Menteri India, Indira Gandhi, mengisytiharkan dharurat, ia ditulis oleh penulis cerita terkenal Salim-Javed, yang menjadikan sebahagian ceritanya diilhamkan dari penyeludup sebenar, Haji Mastan. "Deewaar", sebuah filem drama 1975 yang reflektif kepada "politik huru-hara awal 1970an" di India. Ia menceritakan kisah dua beradik miskin yang, selepas keluarga mereka dikhianati oleh idealisma tidak kena pada tempatnya, berjuang untuk terus hidup (bersama ibu mereka) di persekitaran orang-orang miskin di Mumbai. "Deewaar" adalah superhit di box office, kedudukannya sebagai yang ke-4 tertinggi berjaya meraih kutipan filem Bollywood tahun 1975. Indiatimes Movies meletakkanya di kalangan 25 filem Bollywood terbaik yang misti anda tonton.

ANUGERAH___

"Deewaar" memenangi 7 anugerah Filmfare (1976) - Aktor Pembantu (Shashi Kapoor), Cerita (Salim-Javed), Dialog (Salim-Javed) Lakonlayar (Salim-Javed), Suara (M.A. Shaikh), Pengarah (Yash Chopra) dan Filem Terbaik.

COMMENTS___

By Dinesh Madne

What can you say about "Deewaar". There are some movies you watch and you remember them for your life. They are art work (not an art film). It is just pleasant to watch them again and again. I miss the count how many times I have seen "Deewaar" and every time it is fresh. Movies like "Deewaar", "Kalia", "Sholay", "Mukaddar Ka Sikendar", "Silsila", "Anand" and "Shaan"... no matter how hard you try, but you just can't get bored with them. Amitabh Bachchan's performance (not because he got award for it) is simply great. That way Big B is truly Big B no doubt about that. But such movies make him even greater.


NARGIS & RAJ KAPOOR ("AWARA")

MADHUBALA & DILIP KUMAR ("MUGHAL-E-AZAM")

WAHEEDA REHMAN & DEV ANAND ("GUIDE")

HEMA MALINI & AMITBACH BACHCHAN ("SHOLAY")


FAKTA___

* Nargis, 2 filemnya masuk dalam senarai 10 filem, "Mother India" dan "Awara". Madhubala ("Mughal-E-Azam"), Hema Malini ("Sholay"), Waheeda Rehman ("Guide"), Shabana Azmi (Ankur), Kajol ("Diwale Dulhani Le Jayenge") dan Madhuri Dixit ("Hum Aapke Hain Koun..!").
* Amitbach Bachchan, 2 filemnya masuk dalam senarai 10 filem, "Sholay" dan "Deewar". Dhamendra ("Sholay"), Raj Kapoor ("Awara"), Sunil Dutt ("Mother India"), Dilip Kumar ("Mughal-E-Aman"), Dev Anand ("Guide"), Aamir Khan ("Lagaan"), Shah Rukh Khan ("Diwale Dulhani Le Jayenge"), Shashi Kapoor ("Deewar") dan Salman Khan (Hum Aapke Hain Koun..!").
* Antara 10 filem yang tersenarai, hanya 2 saja berjaya dipilih untuk pencalonan merebut anugerah Oscar Academi Filem Bahasa Asing Terbaik - "Mother India" (1958 pemenang: "Nights Of Cabiria", Italy) dan "Lagaan" (2002 pemenang: "No Man's Land", Bosnia).


# Update akan dilakukan dari masa ke masa.



ANDA MUNGKIN JUGA MEMINATI___


FILEM KLASIK MALAYSIA

berapa banyakkah yang masih ada?


DEV ANAND
patah tak tumbuh hilang tak berganti.


MADHUBALA

menyayangi dilip kumar hingga ke akhir hayat.


CINTA PERTAMA
ya, begitulah kira-kira...


THE LONG HOUSE
kalau pun ada, kita tidak dapat menontonnya.


LOVE IS A MANY-SPLENDORED THING
akhirnya kau dan aku berpisah juga.



FILEM-FILEM BARU DI PANGGUNG WAYANG___













KONSEP PENERBITANNYA HARUS DIPUJI

Setelah diamati buku setebal 355 muka surat ini, kesimpulannya konsep penerbitannya harus dipuji kerana ia berlainan sekali dari apa yang pernah disajikan sebelum ini. Dilihat pula dari segi kesungguhan kedua-dua insan (Datuk Aziz Sattar dan Mustafar A.R.) yang pernah mengenali P. Ramlee, banyak betul perkara yang boleh kita ambil iktibar, dan 20 tahun bukan masa yang sedikit untuk mereka menyiapkan buku yang cukup bermutu ini. Memang benar karya peninggalan Seniman Agung Tan Sri P.Ramlee tiada bandingan dan sumbangannya dalam bidang seni terus abadi dan terpahat dalam minda semua lapisan masyarakat, namun di sebalik kehebatannya, buku ini yang turut menyelitkan gambar-gambar dari filem, sinopsis, ulasan dan pengalaman kedua penulis ketika pembikinan 66 filem P. Ramlee, ada memaparkan kisah menarik antaranya bagaimana P.Ramlee menceduk idea dari filem-filem luar untuk disesuaikan dengan filem-filem arahannya - KAKAK TUA.








Wednesday, July 11, 2012


REVOLUSI ISLAM DAN FILEM IRAN

"A SEPARATION" MENINGKATKAN MERTABAT NEGARA IRAN


Dipetik daripada ruangan
GETARAN SENI Oleh Ku Seman Ku Hussain
Utusan Malaysia (9 Julai 2012)
Foto Dari Pelbagai Sumber




(Sumber: IranianFilmFes)









(Sumber: Yukibubulu)
SAYANG SEKALI TIDAK ADA SARIKATA BAHASA INGGERIS



"A SEPARATION" MENANG ANUGERAH (Sumber: Jeanroustan)




(Sumber: FirouzanFilms)


"CHILDREN OF HEAVEN" CALON ANUGERAH
(Sumber: Regimarcelom)

KEJAYAAN filem Iran hari ini adalah hasil Revolusi Islam 1979. Revolusi itu telah mengubah filem Iran dari sekular (macam filem kita sekarang) kepada filem yang memancarkan jatidiri bangsa.

Revolusi berjasa besar kepada filem Iran yang dijadikan ruang eskapisme pada era rejim Shah Iran.

Filem Iran seusia dengan filem kita yang bermula pada tahun-tahun 1930an. Tetapi banyak mempersoalkan kenapa perfileman kita tidak berubah daripada ejen meruntuh kepada membina masyarakat?

Dari segi statistik memanglah meningkat. Tetapi apalah maknanya statistik kalau filem kita tidak membawa pemikiran membina.

Tentulah tidak benar kalau dikatakan Revolusi Islam di bawah pimpinan Ayatollah Khomeini membunuh industri filem Iran.

Sebaliknya revolusi telah mengubah filem Iran dan hasilnya dibuktikan hari ini. Revolusi yang hanya digambarkan mengenakan peraturan sangat ketat sebenarnya tidak membunuh filem Iran.

Revolusi Islam telah menutup operasi lebih 180 panggung wayang kerana menayangkan filem yang menjadi ejen penyeleweng moral.

Pada awal revolusi, daripada 2,200 judul filem termasuk diimport, hanya 200 saja yang diluluskan untuk tayangan.

Kemudian kerajaan memperkenalkan filem berkonsep Islam dan anti-imperialis. Peraturan yang sangat ketat dan dikawal sepenuhnya oleh kerajaan. Tetapi ternyata peraturan yang ketat bukanlah faktor yang membunuh kebebasan berkarya.

Barangkali tidak ada syarat penapisan filem yang paling ketat dan sangat tegas selain Iran. Penglibatan wanita sebagai pelakon dibenarkan tetapi syaratnya sangat luar biasa. Antaranya tidak boleh mendedahkan rambut dan mesti memakai pakaian yang menutup aurat.

Sementara pelakon lelaki dan wanita termasuk yang melakonkan watak suami isteri tidak boleh bersentuhan waima berpegang tangan.

Kepada karyawan, sekatan itu membuatkan mereka mencari alternatif lain antaranya membuat filem mengenai sosial yang tidak melibatkan banyak pelakon wanita. Ketika filem kita berlumba-lumba “menjual tubuh pelakon wanita", Iran menghasilkan filem mengenai kanak-kanak dan persekitaran sosial.

Sejak revolusi masyarakat Iran telah diasuh dengan filem sosial. Iran tidak memerlukan filem sebagai ruang escapisme daripada realiti sosial seperti filem kita. Hari ini Iran mengeluarkan antara 60 hingga 70 filem setahun dan belanja sebuah filem hanya sekitar RM1.5 juta.

Belanja ini lebih murah berbanding filem kita. Tetapi filem mereka lebih hebat dan bertanggungjawab. Maknanya belanja besar tidak semestinya menjadi faktor filem yang baik.

Filem "A Separation" ("Perpisahan") yang memenangi kategori Filem Bahasa Asing Terbaik di Anugerah Oscar Akademi hanya menelan belanja RM1.5 juta sahaja.

Adalah memalukan apabila filem kita yang belanjanya lebih besar tetapi mempersembahkan pemikiran yang kontot tentang bangsanya sendiri.

Filem kita memerlukan revolusi pemikiran untuk berubah dan dihormati seperti filem Iran.




(Sumber: MsFilmTrailers)



(Sumber: VisoTrailers)



(Sumber: JohnKamal123)



(Sumber: Musicboxfilmsdistrib)


FILEM IRAN DAN ANUGERAH OSCAR AKADEMI
Oleh Mustafar A.R.___


Sejak bermulanya pemberian anugerah oscar akademi bagi kategori Best Foreign Language Film (Filem Bahasa Asing Terbaik) pada tahun 1947 (bermula dengan "Shoe Shine", Italy), buat pertama kalinya filem Iran dicalonkan di Anugerah Oscar Academi Ke-71 (1999).

Bagaimanapun, filem tersebut ("Children Of Heaven" arahan Majid Majidi) gagal memperolehi kejayaan apabila "Life Is Beautiful" (Italy) yang diarahkan oleh Roberto Benigni dipilih sebagai pemenang.

Selain "Children Of Heaven", "Life Is Beautiful" juga menewaskan filem Brazil, "Central Station" yang diarahkan oleh Walter Salles, "The Grandfather" (Jose Luis Garci, Spain) dan "Tango" (Carlos Saura, Argentina).

Selepas itu, Iran kemarau panjang apabila filem-filemnya tidak lagi dicalonkan merebut anugerah yang berprestij itu, sehinggalah pada tahun 2011 (Anugerah Oscar Akademi Ke-84) apabila filemnya "A Separation" dicalonkan.

Filem tersebut yang diarahkan oleh Asghar Farhadi bukan saja sekadar dicalonkan malah meraih kemenangan, mengalahkan filem musuh ketatnya, Israel ("Footnote" arahan Joseph Cedar), "Bullhead" (Michael R. Roskam, Belgium), "In Darkness" (Agnieszka Holland, Poland) dan "Monsieur Lazhar" (Philippe Falardeau, Canada).

Agak menarik, kejayaan Iran dan "A Separation"nya diluar jangkaan kerana ramai yang meramalkan Israel atau Poland atau pun Belgium akan menang, bukan Iran.

Ini kerana boleh dikatakan kesemua mereka yang mengendalikan Anugerah Oscar Akademi adalah dikalangan penganut Yahudi.

Rupa-rupanya, tidak. Filem tetap filem. Fahaman atau agama mereka tidak campuradukkan dengan karya seni (filem).

Iran merupakan di antara 24 negara di dunia pernah memenangi Anugerah Oscar Akademi kategori Filem Bahasa Asing Terbaik.

Negara-negara lain, Italy (13 kali), France (12), Spain (4), Japan (4), Sweden (3), Soviet Union (3), Denmark (3), Netherlands (3), Germany (2), Czechoslovakia (2), Argentina (2), Switzerland (2), Germany West (1), Hungary (1), Canada (1), Russia (1), Algeria (1), Czech Republic (1), Taiwan (1), Austria (1), South Africa (1), Bosnia & Herzegovina (1) dan Ivory Coast (1).

Persoalan yang timbul sekarang, Malaysia bila lagi?

Dalam Anugerah Oscar Akademi yang lalu, filem KRU "Merong Mahawangsa" turut dikemukakan untuk ditempatkan dalam senarai 63 negara yang dipilih untuk 5 pencalonan.

Bagaimanapun dan agak memalukan, di antara pemilihan tersebut, Malaysia terkeluar tetapi jiran-jirannya, Singapura, Indonesia, Philippine dan Thailand, masuk ke dalam senarai 63 negara.

Singapura dengan filemnya "Tatsumi" yang diarahkan oleh Eric Khoo, Thailand "Khon Khon" (Sarunyu Wongkarchang), Philippine "The Woman In The Septic Tank" (Marlon Rivera) dan Indonesia "Under Protection Of Ka'abah" ("Di Bawah Lindungan Ka'abah," Hanny Saputra).

Ini jelas memperlihatkan, betapa ketinggalan keretapinya Malaysia di arena filem antarabangsa, dan Finas serta juga produser-produser filem Malaysia harus mengambil perhatian serius tentang perkara ini.


DI BAWAH LIDUNGAN KA'ABAH, Indonesia (Masuk)

KHON KHON, Thailand (Masuk)

MERONG MAHAWANGSA, Malaysia (Keluar)

THE WOMAN IN SEPTIC TANK, Filipina (Masuk)

TATSUMI, Singapura (Masuk)

CATATAN WIKIPEDIA (BAHASA INGGERIS)___

Release

The film premiered on 9 February 2011 at the 29th. Fajr International Film Festival in Tehran. Six days later it played in Competition at the 61st. Berlin International Film Festival.

Asghar Farhadi had previously competed at the festival's 2009 edition with "About Elly", for which he had received the Silver Bear for Best Director. "A Separation" will be distributed in Iran through Filmiran. Distribution rights for the United Kingdom were acquired by Artificial Eye.

Box Office

As of June 10, 2012, "A Separation" has grossed $7,095,624 in US, along with $15,678,903 in other territories, for a worldwide total of $22,774,527.

Critical Reception

The film has been met with universal acclaim from film critics, currently holding a 99% "fresh" rating on Rotten Tomatoes, based on 139 reviews and an average rating of 8.9/10, as well as a score of 95 on Metacritic based on 45 reviews, making it the best-reviewed film of 2011.

Deborah Young of The Hollywood Reporter wrote from the Berlinale:

"Just when it seemed impossible for Iranian filmmakers to express themselves meaningfully outside the bounds of censorship, Asghar Farhadi's "Nader and Simin, A Separation" comes along to prove the contrary.

"Apparently simple on a narrative level yet morally, psychologically and socially complex, it succeeds in bringing Iranian society into focus for in a way few other films have done."

Deborah Young noted how Asghar Farhadi portrayed Iran's social and religious divisions, and complimented the film's craft:

"As in all the director's work, the cast is given top consideration and their realistic acting results in unusual depth of characterization.

"All five main actors stand out sharply in Mahmoud Kalari's intimate cinematography.

"Though the film lasts over two hours, Hayedeh Safiyari's fast-moving editing keeps the action tensely involving from start to finish."

In a strongly positive review from Screen Daily, Lee Marshall wrote:

"Showing a control of investigative pacing that recalls classic Hitchcock and a feel for ethical nuance that is all his own, Asghar Farhadi has hit upon a story that is not only about men and women, children and parents, justice and religion in today’s Iran, but that raises complex and globally relevant questions of responsibility, of the subjectivity and contingency of ‘telling the truth’, and of how thin the line can be between inflexibility and pride – especially of the male variety – and selfishness and tyranny."

Alissa Simon from Variety called it Asghar Farhadi's strongest work yet and described it:

"Tense and narratively complex, formally dense and morally challenging... The provocative plot casts a revealing light on contempo Iranian society, taking on issues of gender, class, justice and honor as a secular middle-class family in the midst of upheaval winds up in conflict with an impoverished religious one."

David Thomson for The New Republic wrote:

"You cannot watch the film without feeling kinship with the characters and admitting their decency as well as their mistakes. The American films made this year that deal with the internal detail and difficulty of family life – like The Descendants — are airy, pretty and affluent compared with "A Separation".

"With the best will in the world, George Clooney cannot discard his aura of stardom, yet the actors in the Iranian film seem caught in their characters’ traps."

It Won The Top Award

The film won the Fajr Film Festival's Crystal Simorghs for Best Director, Best Screenplay, Best Cinematographer and Best Sound Recorder. It also received the Audience Favourite Film award. It won the top award, the Golden Bear for Best Film, at the Berlinale Film Festival.

The actress ensemble received the Silver Bear for Best Actress, and the actor ensemble the Silver Bear for Best Actor. In addition it received the Competition Prize of the Ecumenical Jury and the Berliner Morgenpost Readers' Prize.

Isabella Rossellini, the Jury president of the Berlinale Festival, said that the choice of Asghar Farhadi's film for the Golden Bear was "pretty unanimous."

Asghar Farhadi commented that he never would have thought he would win the Golden Bear, and that the film's victory offered "a very good opportunity to think of the people of my country, the country I grew up in, the country where I learned my stories – a great people".

Ahmad Miralaii, the director of Iran's Farabi Cinematic Foundation, said that "Iranian cinema is proud of the awards", as he welcomed Asghar Farhadi at the airport upon the director's return from Berlin.

"A Separation" was voted the second best film of 2011 in the annual Sight & Sound critic poll, as well as in the L.A. Weekly Film Poll 2011. The film was also voted No.3 in the annual indieWire critic survey for 2011, No.4 in the 2011 poll by Film Comment, and was ranked No.5 on Paste Magazine's 50 Best Movies of 2011.

Roger Ebert ranked the film No.1 on his The Best Films of 2011 list and wrote: "A Separation" will become one of those enduring masterpieces watched decades from now".


10 AKTRES IRAN PALING JELITA___


1. LEILA HATAMI


LEILA HATAMI DALAM FILEM "GARDEN SALAD" (2005)
(Sumber: PersianMovies)

2. ELNAZ SHAKERDOOST

3. HANIE TAVASSOLI

4. ELNAZ HABIBI

5. SHABANAM GHOLIKHANI

6. AFSAANE PAKRO

7. LEILA ZARE

8. MAHCHEHREH KHALILI

9. YEKTA NASER

10. SAHAR GHOREYSHI


APA KATA ASGHAR FARHADI (BAHASA INGGERIS)___

ASGHAR FARHADI

Why does the film resonate so much with everyone who sees it, all over the world?

"I don't know exactly why but I can venture a guess: This is in a way a detective story, but the detective is actually the audience. We've seen many detective movies where the language is not realistic, in a way we're seeing a combo of a detective movie and a drama - a hybrid of the two."

He added: "I don't think that local films can't also be universal; they can be both. If you tell a local story very precisely and accurate, it can become quite universal."

Doesn't the film open audiences up to the world of Iran?

"There's an image of Iran that's not correct. I don't mean to say there are no issues or problems - there are. But the type of problems you often imagine are not the ones there. Western audiences might go into this movie with a preconceived notion. For them, it might be strange than Iranians have such layered, complicated issues.

"But I think people all over the world are quite similar. People all over the world have quite complicated issues. The problem is we look through the people of the county through the prism of politics. If you see the people you see how similar we are." The response to his film all over the world has been that "we are very similar."

He's said it many times, but it's worth saying again: "Similarities between people and their cultures, throughout the world, are far greater than their differences, but its better for the interest of politics to highlight the differences."

Asghar Farhadi's goal was not to make a film to help foreign audiences better understand Iran:

"No movie can claim to have a complete view of a country. How could I possibly say that my movie is an image of 70 million people - this would be belittling people.

"He and his fellow Iranian filmmakers don't like to have all their issues brought up or to receive sympathy:

"When you see my movie, assume that I made it under the best possible circumstances. That doesn't mean that I condone the difficult situations in Iran, but I don't want to be a beggar on the street who exposes his wounds just to get sympathy for it.

"Nobody forced me to become a filmmaker under those circumstances, I chose to do so, knowing those circumstances, we Iranian filmmakers don't like to be treated like 'wow, they created…' Just watch our movies."

As for the purported difficulties of bringing films to foreign audiences with language barriers:

"Sometimes it's a good thing to not understand the language, you get down to the real stuff." Farhadi worked in theater for years before becoming a filmmaker. His process is still very theatrical. "We do the type of exercises that if anyone were to see us they'd think we were bizarre."

"He had "A Separation"'s actors do method-like preparation before production began. For months ahead of time you work with actors, it's not like sitting around a table reading a script together."

TRIVIA "A SEPARATION"___


* Tajuk asal "A Separation", "Jodaeiye Nader Az Simin".
* Mula ditayangkan di Festival Filem Antarabangsa Fajr di Tehran pada 9 Februari 2011, kemudian di Festival Filem Antarabangsa Berlin pada 15 Februari 2011.
* Budget (lebih kurang) $US800,000, dan pendapatan kasar setakat 17 Jun 2012, $US7,098,492.
* Keseluruhan penggambaran dilakukan di Tehran, Iran.
* Taglines: "Lies may lead to truth" ("Bohong mungkin membawa kebenaran").
* Menyertai 44 festival filem dan penganugerahan filem antarabangsa.
* Asghar Farhadi (pertama kali dari Iran) dicalonkan merebut anugerah Lakonlayar Original Tebaik (Anugerah Oscar Akademi ke-84), tetapi gagal apabila Woody Allen memenanginya kerana "Midnight In Paris".
* Di Festival Filem Antarabangsa Fajr Iran (2011), memenangi 7 anugerah - Filem Terbaik, Arahan (Asghar Farhadi), Sinematografi (Mahmoud Kalari), Lakonlayar (Asghar Farhadi), Rakaman Suara (Mahmoud Samabakbashi), Pelakon Pembantu Lelaki (Shahab Hosseini) dan Pelakon Pembantu Wanita (Sareh Bayat).
* Filem Iran pertama menerima pencalonan kategori Foreign Language Film Award di British Academy Of Film And Television Arts (BAFTA) 2012, tetapi digagalkan oleh "The Skin I Live In" (Pedro Almodovar) dari Spain.
* Pertama kali Iran memenangi anugerah The Golden Globe (2012) kategori Foreign Language Film, menewaskan "In The Land Of Blood And Honey" (USA), "The Skin I Live In" (Spain), "The Kid And The Bike" (French/Belgium) dan "The Flower Of War" (China).


# Update akan dilakukan dari masa ke masa.






ANDA MUNGKIN JUGA MEMINATI___


FILEM KLASIK MALAYSIA
berapa banyakkah yang masih ada?

ROH MEMBELA (1955)
kekuatannya special effect dan aziz sattar

CHEMBURU (1953)
banyaknya pelukan rosnani dan yusof latiff

PONTIANAK (1957)
mencapai kejayaan box office luar jangkaan

MUTIARA DARI MALAYA (1955)
teknik fotografinya sangat menarik

LAIN JALAN KA-SHORGA (1968)
apa, berdosakah aini?

SELENDANG DELIMA (1958)
kejelitaan maria menado dieksploitasi sepenuhnya




KONSEP PENERBITANNYA HARUS DIPUJI

Setelah diamati buku setebal 355 muka surat ini, kesimpulannya konsep penerbitannya harus dipuji kerana ia berlainan sekali dari apa yang pernah disajikan sebelum ini. Dilihat pula dari segi kesungguhan kedua-dua insan (Datuk Aziz Sattar dan Mustafar A.R.) yang pernah mengenali P. Ramlee, banyak betul perkara yang boleh kita ambil iktibar, dan 20 tahun bukan masa yang sedikit untuk mereka menyiapkan buku yang cukup bermutu ini. Memang benar karya peninggalan Seniman Agung Tan Sri P.Ramlee tiada bandingan dan sumbangannya dalam bidang seni terus abadi dan terpahat dalam minda semua lapisan masyarakat, namun di sebalik kehebatannya, buku ini yang turut menyelitkan gambar-gambar dari filem, sinopsis, ulasan dan pengalaman kedua penulis ketika pembikinan 66 filem P. Ramlee, ada memaparkan kisah menarik antaranya bagaimana P.Ramlee menceduk idea dari filem-filem luar untuk disesuaikan dengan filem-filem arahannya - KAKAK TUA.